Obtaining ensemble and celeste effects in electrical musical instruments



Aug. 21, 1962 A. MEYER 3,049,959

OBTAINING ENSEMBLE AND CELESTE EFFECTS IN ELECTRICAL MUSICAL INSTRUMENTSFiled Nov. 22, 1957 5 Sheets-Sheet l EG. 1. .ff/5.4 7a2/raaf@ rxr-e5 FrE GENERA-rons A EFJHEH'EFHHH INVENTOR. ffr MVL-7?,

RTTORNEYS.

Aug. 21, 1962 A. MEYER 3,049,959

OBTAINING ENSEMBLE AND CELESTE EFFECTS IN ELECTRICAL. MUSICAL.INSTRUMENTS Filed Nov. 22, 1957 5 Sheets-Sheet 2 Il j? L Jhp Kewl-va JY@.27A/clama J4 I 1&"55

BYMWYM RTTCRNEYS.

Aug. 21, 1962 A. MEYER 3,049,959

OBTAINING ENSEMBLE AND CELESTE EFFECTS IN ELECTRICAL NUSTCAL INSTRUMENTSINVENTOR. 4165er /fs-rfg,

BY TM ATTORNEYS.

Aug. 21, 1962 A. MEYER 3,049,959

OBTAINING ENSEMBLE AND CELESTE EFFECTS IN ELECTRICAL MUSICAL INSTRUMENTS@ma a' am M fil/rs am* L ATTORNEYS- Aug. 21, 1962 A. MEYER 3,049,959

OBTAINING ENSEMBLE AND CELESTE EFFECTS IN ELECTRICAL MUSICAL INSTRUMENTSFiled Nov. 22, 1957 5 Sheets-Sheet 5 Hand/YH arf ICE?" as (belve-r 4'GENE/:zn ra @s (JTA- ATTORNEYS.

United States (Ehio Filed Nov. 22, 1957, Ser. No. 693,222 19 Claims.(ci. str- 1.24)

The invention relates to electrical musical instruments, primarily butnot exclusively those in which tones are continuously generated byelectrical means in the nature of oscillators, the electricaloscillations being derived and combined by means of key switches,modified as to harmonic content by filter means, amplified, andconverted into sound by one or more loud speaker channels.

The tones produced by such instruments may be given substantially anytone color desired, may be controlled as to onset and cessation byvarious means including resistiye switches, .and may have vibratoimparted thereto. Nevertheless, the tones do not fully simulate thetones of the pipe organ because the tones, being derived from a singlerank of oscillators, are always precisely in tune. In even the smallestpipe organ, the various voices are produced from separate ranks of pipeswhich are slightly detuned with respect to each other, giving what isgenerally termed an ensemble effect which is pleasing to the ear. Thedifference is essentially that existing between the music of a singleviolin and that of a plurality of violins played together, thedifference being readily detectable even if the amplitudes of the tonesare the same. In addition, the pipe organ usually has the ranks of pipesfor certain Voices more sharply detuned from each other, giving aneffect known generally as a celeste effect.

It has hitherto been suggested that the tonality of a pipe organ couldbe more nearly reproduced in an electrical musical instrument ifseparate ranks of generators were set up for the various voices, theseranks of generators being slightly detuned from each other. However, theuse of a number of ranks of generators equal to the number of voices inthe instrument increases the cost tremendously, and is economicallydisadvantagcous.

It is an object of the invention to provide for the obtaining of anensemble effect in an electrical musical instrument without the use oflarge numbers of ranks of generators.

It is an object of the invention, also, to provide for the obtaining ofceleste effects in an electrical musical instrument without the use oflarge numbers of ranks of generators.

It is a further object to obtain celeste effects without significantinterference with the tonality of other stops which may be employed withthe celeste stops.

These and other objects of the invention, which will be set forthhereinafter or will be apparent to one skilled in the art upon readingthese specifications, are accomplished by that construction andarrangement of parts of which exemplary embodiments will hereinafter bedescribed. Reference is made to the accompanying drawings wherein:

FIGURE 1 is a diagrammatic representation of an electrical musicalinstrument arranged for ensemble effects.

FIGURE 2 is a diagrammatic representation of an arrangement includingmeans for the production of celeste Voices and including means for theelimination of the celeste effect when a main organ voice is usedderiving oscillations from a generator rank which is detnnable forceleste purposes.

FIGURE 3 in a diagrammatic representation of an arrangement includingceleste voices, together with a arent C :icc

3,049,959 Patented Aug. 21, 1962 means for shifting a main organ voicefrom one generator rank to another when a celeste stop is drawn.

FIGURE 4 is a diagrammatic representation of means for utilizingoscillations from different ranks of generators to provide sources ofoscillations in which the oscillations are not precisely in tune withoscillations octavely related thereto, these sources being used in theinvention in the same way as ranks of generators in earlier figures.

FIGURE 5 is a diagrammatic representation of an arrangement usingelectronic means for modifying the frequency of oscillations after theyhave been produced.

FIG. 6 is a diagrammatic representation of an electrical musicalinstrument arranged for ensemble effects, similar to the arrangementshown in FIG. 1, but showing the use of separate loud speakers for thereproduction of tones generated by the several ranks of generators.

In making the exemplary disclosures herein, the invention will bedescribed in connection with an electrical musical instrument of thetype shown in patent No. 2,233,948 to Winston E. Kock, issued March 4,1941, to which reference is hereby made for the details of such aninstrument. The patent shows a rank of generators divided into twelvegroups of octavely related oscillators, each group having a masteroscillator in a high register and a plurality of other oscillatorscontrolled directly or indirectly thereby. The application of a varyingpotential to the master oscillators of the several groups producesvibrato. By means of switches operated by playing keys, the oscillationsfrom the various generators are transferred to headers. Each keyoperates several switches for the derivation of harmonically relatedoscillations; and the oscillations of different footages, eg. 4, 8', and16', are collected in different headers.

From the headers, the oscillations are transferred to tone colorfilters, some of which derive their oscillations from one header, whileothers are fed by more than one header. To produce certain voices,usually of woodwind character, it is the practice, in this instrument,to combine, say, 8 oscillations with corresponding 4 oscillations 189out of phase therewith, the result being suppression of the even orderand accentuation of the odd order harmonics. The tone color filters arecontrolled by switches connected with stop tabs. The oscillations fromthe tone color filters pass to an amplifier with volume control, andthence to one or more loud speakers.

In the organization of this invention, a small number of ranks ofgenerators is provided. While the number may vary, the invention will bedescribed in connection with an instrument having four rank-s ofgenerators, designated generally in the drawings by the Roman numeralsI, Il, III and IV. The number of ranks of generators for optimumensemble effect is determined, in accordance with this invention, by thenumber of most important manual stops in full organ condition, thesestops being the loudest stops. Thus, where in a particular instrument,these stops are:

(Great) Open Diapason 8 Octave 4 Trumpet 8', and

(Swell) Violin Diapason 8 four ranks of generators are used. Theensemble is, as it were, built out in each division, Great or Swell, ofthe organ, as will hereinafter be explained.

Referring now to FIGURE l, four ranks of generators, I, Il, Ill and IV,have been indicated by blocks at the lefthand side. The drawing is not acircuit diagram, as will be understood, and does not show the variouscircuit elements. However, the paths of the oscillations arediagrammaticallly indicated by single lines. The index numeral 1designates a series of switches operated by one of the keys of the SwellManual of `the organ. It will be understood that similar groups ofswitches are operated by the other keys of the manual. Generator ranksI, II and IV are shown connected variously to these key switches. Itwill be understood by the skilled worker that if the key switch group 1is, say, the group for Middle C, then 4 and 8' C oscillators of ranks I,II and IV respectively will be connected through the switches of thegroup, as indicated by the footage notations on the drawing. The keyswitches themselves are connected through various headers to the tonecolor tilters for the Swell Manual. These filters arc diagrammed as agroup at 4. Three of the voices of the group require the outphasingwhich has been mentioned above and outphasing means is indicated at 5.

Similarly, the index numeral 2 indicates a group of key switchesoperated by one of the keys of the Great Manual. These switches areconnected variously to the several ranks of generators, and they feed,through suitable headers, a group of tone color filters 6 for the GreatManual. Again, index numeral 3 indicates a group of switches operated bya key of the pedal clavier, again connected to the ranks of generators,and feeding the oscillations to a group of pedal tone color filters 7.

The index numeral 8 appended to a series of aligned switches diagramsmeans for coupling the Swell to the Great Manual. Similarly, the numeral9 indicates means for coupling the Great Manual to the pedal clavier.The circuit elements are not shown as such; the coupling is preferablyaccomplished by the means shown in Patent No. 2,557,133 issued June i9,1951, in the name of Raymond P. Mork.

In the diagram, FIGURE l, it will be easy to determine, however, fromwhat generator rank each of the individual tone color filters derivesits oscillations. This is summarized in the following table:

Stop Generator Swell M anual:

Violin Diapason 8 Salicioual 8 String Celeste 8'... Stopped Flrte 8Trompette 8 Clarinet 8 Salicet 4 Dolce Cornet 4 Great Manual:

Bourdon 16 Open Diapason 8 elodia 8 Flute Celeste 8 Duleiana 8 DuleianaCeleste 8 Frumpet Octave 4 Violna 4 Clarion 4 Pedal Clavier:

Open Diapason 16 Duleiana 16 in connection with the provision ofensemble accompaniment to solo voices. For example:

Trompette (II) ensembles with Violin Diapason (IV) Dolce Cornet (I)ensembles with Trompette (II) Dulciana (I) ensembles with Melodia (III)Violina (III) ensembles with Dulciana (I) Salicional (IV) ensembles withDulciana (I) Stopped Flute (II) ensembles with Melodia (III) Melodia(III) ensembles with Bourdon (IV) Salicet (II) ensembles with Salicional(IV) Flute (IV) ensembles with Stopped Flute (II) and so on.

Further, solo voices such as Clarinet (II), Vox Humana (II), French Horn(1I) and Oboe (IV) will ensemble with a wide variety of accompaniments.

It will be understood that the various generator ranks will be detunedslightly with respect to each other, preferably in a random manner.Thus, for ensemble ettects, one of the generator ranks may be tunedexactly on pitch, while the others are detuned within the range ofsusbtantially i3-4 cents. 'Since in the particular embodiment, theapplication of a small voltage to the master oscillators will result ina change of frequency, it is possible to tune the entire organ includingall of the generator ranks to standard pitch and then slightly detunethree of the generator ranks by the application of small steadyvoltages. Further, provision may be made for the adjustment of thedetuning.

The system, as outlined in the exemplary embodiment, requires a greaternumber of key switches than is standard in instruments not makingprovision for ensemble effects. Thus, the Swell Manual must provide forthe keying of generator ranks I, II and IV at footages of both 8 and 4,thus requiring a total of six switches operated by each key. As to theGreat Manual, and by reason of the coupling between the manuals, it isnecessary to derive 8 and 4 tones from all of generators I, II and III,and 4', 8 and 16' tones from generator rank IV, making a total of nineswitches to be operated by each Great Manual key. By reason of thecoupling as shown in the diagram of FIGURE l, the switches for eachpedal should key the II, III and IV ranks of generators at 4', S and 16tones each and the I rank of generators at 4 and 8 respectively, makinga total of eleven switches for each key of the pedal clavier. If themanual to pedal coupling means were eliminated, tive switches wouldserve for each pedal key.

In order to complete the exemplary showing, an ampliiier diagrammed at Aand a loud speaker L are indicated as connected to receive the output ofthe `Great Tone Color Filters, it being understood that the same outputsystem or separate ones are connected to receive the output of the SwellTone Color Filters and the Pedal Tone Color Filters.

Thus far there has been described a mode of securing ensemble eiects asbetween voices. Within the purview or" this invention it is possible toenrich any single voice to impart ensemble characteristics to it, byadding some of the output from another rank or ranks of generators at alow level. For example, the Salicional voice of the Swell Manual isshown in FIGURE 1 as connected to a header which, in turn, is connectedto the key switches so as to receive the 8 output of the IV generatorrank. To enrich the Salicional voice, it would be possible toresistively add, say, signal from the 8' header of the I rank ofgenerators, by means of an attenuating irnpedances indicated at 10. 'Asimlar connection could be made with the 8 header of the II rank ofgenerators. In the Great Manual arrangement, as illustrated in FIGURE l,any voice filter (except the Bourdon) could be similarly connected withas many as three other ranks of generators. By a low level is meant anamplitude of, say, 20 to 30 decibels less than the amplitude of theoscillations from the IV rank of generators.

The invention also makes provision for the obtaining of celeste toneswhich, as set forth above, are brilliant ettects apa-9,959

produced by the simultaneous sounding of tones which are detuned asrespects each other by a greater degree than is usual or proper in theobtaining of the ensemble effect. Thus, whereas the ensemble effect isbest obtained by a detuning of, say, iii-4 cents, celeste effectsgenerally contemplate a detuning of the order of i12-13 cents. Celesteeffects are readily obtained in the practice of this invention by makingone at least of the four ranks of generators selectively tunableelectrically by means of a controllable D.C. voltage applied to thevibrato bus. For those voices in which a celeste effect is desired, thestop tabs can be made to operate switches which will detune thisgenerator rank to the desired degree, and draw excitation from it aswell as from one other generator rank in the group. Individualy, thecelestes may be either flat or sharp and may be so in different amounts;but if all are simultaneously played, they must of necessity beidentical in the amount of detuning of the tunable generator rank, sothat some switching precedence should be provided in this event. Thedetuning of the celeste generator rank may be fixed or provision may bemade within the control of the musician for adjustment of the detuning.

Further, if one of the main stops of the organ, as set forth herein,should derive its principal excitation from the celeste generator rank,there would have to be provided a detuning cut-out switch in connectionwith such main voice since the celeste effect detuning would beinappropriate in connection with it.

'FIGURE 2 illustrates an arrangement which makes provision for celesteeffects. It is diagrammatic in nature and is based on the arrangementshown in FIGURE 1. Generator rank I is in this instance chosen as thegenerator rank which will be selectively detuned for celeste purposes.There is shown a Salicional voicing means 11 connected to the 8 headerof the IV rank of Swell key switches and provided with a :Salicionalstop switch 12 by which its output is transferred to the header 13leading to the amplifier. Next, there is shown a String Celeste voicingmeans 14. iIt is connected to the IS' header of Swell key switch rankfI. The String Celeste stop tab operates three switches. The first is anormally open, single-pole, single-throw switch 15 operating to connectthe lSalicional voicing means to the header 116. The second is anormally open, single-pole, single-throw switch 16 operating to connectthe String Celeste voicing means to the header 13V. The third is asingle-pole, double-throw switch 17 which operates upon the actuation ofthe stop tab to connect the vibrato bus 18 of generator rank I to apoint on a potentiometer or resistive network 19 such that a steadypotential above ground potential is applied to said vibrato bus,resulting in the detuning of generator rank I. A celeste effect will beobtained because of the combination of oscillations from the generatorrank IV and the very substantially detuned oscillations from thegenerator rank I.

FIGURE 2 also shows an Open Diapason voicing filter 20 derivingoscillations at 4 and 8 from Great key switch rank I. If the OpenDiapason stop is to be played, the tuning of generator rank I should berestored. Accordingly, the stop tab of the Open Diapason Voice isarranged to operate -four switches. The first of these is a single-pole,single-throw switch 21, normally closed, but in series with switch 16and acting, when the Open Diapason stop t-ab is depressed, to break thecircuit between the String Celeste voicing means and the header 13. Thesecond is a single-pole, double-throw switch 22 acting when the stop tabis off, to connect the upper end or the resistive network 19 to a sourceof detuning voltage V. When the stop tab is depressed, the switch 22connects the-resistive network to ground as shown, thus eliminating anyceleste fbias on the generator rank I. The third is a single-pole,double-throw switch 23 acting, when the stop is depressed, to connectthe Open Diapason voicing means with the Great Manual stop header 24.When the stop is on, this switching serves to cut out `a celeste voice,as

hereinafter explained. A similar switch 25 acts when the stop tab isdown to connect the Open Diapason to the header and to break the circuitof a Flute Celeste stop hereinafter described. In the Great Manualassembly there is shown a Melodia voicing means 26 having stop switch 27and connected to the 8 header of Great key switch rang III. FluteCeleste voicing means is shown at 28 connected to the 8 header ofgenerator rank I. This voicing means has a stop tab operating threeswitches and indic-ated generally at 29. The arrangement is similar tothat described labove in connection with the String Celeste. One of theswitches connects the Melodia voicing means to the header 24; anotherconnects the Flute Celeste voicing means through switch 2S of the OpenDiapason stop switch arrangement to the header 24. The third switchnormally connects the vibrato bus 18 of generator rank I to ground, butwhen the stop tab is actuated, it connects it with the resistive network19. The position of this connection on the resistive network may bedifferent so as to accomplish a different degree of detuning.

There is also shown a Dulciana voicing means 30 connected to the S'header of Great key switch rank I and having ya stop switch 31. ADulciana Celeste voicing means 32 may be connected to Great key switchrank II. It is provided with a stop tab operating three switches andindicated generally at 33. The first of these switches connects theDulciana voicing means with the header 24; the second connects theDulciana Celeste voicing means with the header 24 through switch 23 ofthe Open Diapason stop tab. The third switch, when the stop tab isactuated, connects the vibrato bus of generator rank I with yet anotherposition on the resistive network 19 through switch 17 of the StringCeleste stop tab. Otherwise, it grounds the vibrato bus through the sameswitch and through the last mentioned switch of combination 29.

There is included in the vibrato bus switching circuit a precedence suchthat when several celeste stop switches are actu-ated, the celestehaving the least amount of detuning takes precedence. For pleasingceleste effects, bright tone colors (such as string stops) require lesstuning separation (i.e. detuning) between the two components, whereaspurer tone colors (such as iiutes) allow considerably more tuningseparation. Since generator detuning increases (though not linearly)with increasing control voltage, the connection for the String Celesteis shown at the lowest point on the resistive network 19 since this isthe brightest tone color. The connection for the Flute Celeste is shownhighest because this is a relatively pure tone color. The DulcianaCeleste, being an intermediate tone color, allows an intermediate`amount of detuning, and is shown as having its connection in anintermediate position.

Of course, `other arrangements `are possible. For example, the Oboe stopof the Swell Manual could be connected to generator rank II instead ofIV, and in this event the IV generator rank may be made the Celestegenerator rank. A Salicional Celeste stop could derive its oscillationsfrom iII and `a detuned IV; a Melodia Celeste could derive itsoscillations from III and a detuned IV; and a Dulciana Celeste couldderive its oscillations from I and a detuned IV. All of thesecombinations are different. Since, however, the Violin Diapason isconnected with generator rank IV, this stop will require a detuningcut-out.

FIGURE 3 illustrates another arrangement which somewhat simplifies thestop tab switching. In it the detuning cut-out switches lare obviated;lbut each celeste stop is provided with an additional contact, and thesecontacts are wired in parallel to operate a relay. This relay acts, whena celeste stop is being used `and generator rank I (for example) is,therefore, substantially detuned, to transfer any main organ stopnormally connected with the highly detuned generator rank to some othergenerator rank. There may in this system be a slight sacrifice in theover-all ensemble effect, but its advantage is that it does not precludethe playing of a celeste voice with one of the main voices of the fullorgan such as the Open Diapason.

In FIGURE 3 like parts have been given like index numerals and do notrequire re-description. The Open Diapason voicing means has a stopswitch assembly 34 which simply -acts to connect it with the bus 24. TheString Celeste stop tab operates `a switch 35, and similar switches arearranged in parallel with it and operated by the stop tabs of the FluteCeleste and the Dulciana Celeste to connect the operating coil 36 of arelay with a source of power 37. The relay has a double-pole,double-throw switch 38. When the relay is unactuated, the Open Diapasonvoicing means 20 is connected respectively to the 4 and 8' headers ofGreat key switch rank I. Actuation of any of the celeste stops shownWill result in switching the connections of the Open Diapason voicingmeans to the 4 and S headers respectively of Great key switch rank IV.Instead of a single resistive network 19, there is shown in FIG- URE 3separate resistors 39, 40 and 41 to which the generator I rank vibratobus 18 may be selectively connected by switches operated from theseveral celeste stop tabs. In this way different celeste eiects may beattained by connecting the resistors to sources of positive and negativevoltage. Again, it will be evident to the skilled worker in the artvarious other arrangements may be made, which it is not necessary tooutline here.

The effects contemplated herein are enhanced by the use of several loudspeaker channels, preferably as many channels as there are ranks ofgenerators. Thus the signals of all of the stops supplied by generatorrank I can be radiated by one speaker, the signals of all stops suppliedby generator rank II can be radiated by another speaker, and so on.Besides resulting in a desirable acoustic mixing of the several signals(such `as is obtained in pipe organs) rather than an electrical mixing,this also yields a desirable spatial effect. In following this system,it will be within the skill of the worker in the art to provide severalstop headers with associated preamplifiers and ampliiiers and withvolume controls for each division of lthe organ.

This is illustrated in FIG. 6, which is comparable to FIG. l, and inwhich like parts have been given like index numerals and legends. Inthis iigure, it will be seen that there are four elements indicated at63, 64, 65 and 66 which may be considered as combinations of powerampliiiers and loud speakers constituting output systems for theinstrument. In the iigure it will be seen that these output systems arerespectively connected to the voicing circuits of the swell manual,great manual and pedal clavier of the instrument in such a way that eachoutput system receives oscillations from one only of the illustratedranks of generators, I, II, III and IV. There have further been shown inconnection with this system separate volume controls 67, 68 and 69 whichserve as volume controls respectively for the swell, great, and pedalkeyboards. These volume controls may be in the form of multiplepotentiometers, since, although the output systems 63, 64, 65 and 66 areconnected respectively with the ranks of `generators aforesaid, morethan one rank of generators is used with respect to the various seriesof swell, great and pedal voices. Consequently, actuation of the swellvolume control will simultaneously affect the inputs to any of theoutput systems which are connected to voices in t'neA swell organgrouping. The same thing is true of the great organ voice grouping, andthe grouping of voices derived from the operation of the pedal clavier.

Although it has been implied in the disclosures above that a given stopis supplied throughout its entire compass by oscillations from a unitarygenerator rank having locked octaves, this is not a limitation on theinvention,

and generator ranks may be used in which all generators are separatelytunable. With locked generator ranks, it is frequently an advantage thatdifferent octavely related oscillations from the same rank are notintegrally related in frequency. However, there are many advantages inunitary generator' structures which have locked octaves; and the presentinvention includes means whereby etiects similar to the effect producedby a single rank of organ pipes slightly detuned with respect to eachother or comparable effects from a rank of individually tunablegenerators may be obtained.

Referring to FIGURE 4, the numeral 42 indicates diagrammatically thepoints of output (represented as though it were a connector board) ofgenerator rank I. Similarly, 43 represents the points of output ofgenerator rank II. These generator ranks and others which may beincluded in the system are of the type having locked octaves. Aconnector board is shown at 44; and it will be seen from the diagramthat for the first octave the points on the connector board 44 areconnected directly to corresponding points at 42. For the second octaveon the connector board 44, however, the points are connected to thesecond octave on 43. For the third octave on connector board 44, theremay be connections to the third octave on 42, or to the third octave ina generator rank II-I or a generator rank IV (not shown) in thedrawings. Similarly, a connector board 45 is indicated in the drawing ashaving its first octave points connected with the first octave outputpoints of 43. Its second octave is shown connected to the output pointsof the second octave of 42, and so on, as described above.

In an organ structure having four ranks of generators, there may be fourconnector boards. By reason of the detuning of respective generatorranks I, Il, III, and lV, it will be observed that the octaveiy relatedoscillations available on lthe connector boards 44, 4S, etc. will beslightly detuned with respect to each other. It will further be observedthat each connector board presents for use an organization ofoscillations which is speciiically diiierent from that presented by anyother connector board in the group, so that oscillations derived fromdifferent connector boards will ensemble with each other. The connectorboards, therefore, may be treated as sources of oscillations; and bymaking appropriate connections to the connector boards, the inventionhereinabove described in connection with FIGURE 1 may be practiced, aswill now be clear to the skilled worker in the art. In any giveninstrument some of the switches under any given key may be connected tothe connector boards or sources I, II, III and IV, while others may beconnected directly to the generator ranks I, II, III and IV heretoforedescribed. In the claims which follow, the terms generators and ranks ofgenerators are intended to be construed broadly enough to include thesources described in connection with FIGURE 4.

Where celeste effects are desired in an instrument making use of thesources, it is possible to provide a celeste generator rank which is notconnected to any of the connector boards forming the so-called sources.

While the invention has been described herein in connection with ranksof generators or sources which are slightly detuned as respects eachother, the art has produced electronic devices which are capable ofmodifying the frequency of oscillations after they have been produced.Reference is made to the copending application of William C. Wayne Ir.,Serial No. 631,650, filed December 31, 1956, and entitled AudioModulation System, now patent 3,004,460 issued October 17, 1961, and tothe copending application of Ernest I. Timperman, Serial No. 631,883,filed December 3l, 1956, and entitled Audio Modulator, now Patent2,916,706 isued December 8, 1959, in which exemplary devices of thischaracter are disclosed involving phase shift means. The principles ofthis invention may be applied to the use of such devices for creatingensemble and celeste eects, the phase spaanse shift `devices beinglocated between the tone color circuits and the output system. Anarrangement of this character is illustrated in FIGURE hereof. Thenumerals 46, 47 and 48 indicate assemblies of tone color filter meansrespectively for the Swell and Great Manuals and for the Pedal Clavier.These tone color filter assembles can be considered as connected in themanner taught in the Kock Patent 2,233,948, referred to hereinabove to asingle rank of generators. But the outputs of the tone color lters inthe several assemblies are organized in the way taught hereinabove byselectively connecting them to different headers such as the headers 49,50, 51 and 52. Where celeste voices are desired, there will be inaddition a celeste header 53.

A series of phase shift frequency modulating devices is shown at 54, 55,S6 and 57. In the particular embodiment the header 49, which receivesthe outputs of the Pedal Flute 8', the Great Dulciana 8', the Great OpenDiapason 8', the Swell French Horn S', and the Swell Dolce Cornet 4', isshown as connected directly to an output header 58 by a lead 59. Theoutput header will, of course, be connected through expression controlmeans to a power amplifier and loud speaker system, which may compriseseveral loud speaker channels as described above. Header 50, whichreceives the output of the Pedal Cello 8' and Open Diapason 16', theGreat Octave 4', and the Swell Salicet 4', Vox Humana 8', Clarinet 8',Trompette 8', and Stopped Flute 8', is connected through the phase shiftmodulating device 54 to the output header 59. Similarly, header 51,receiving the output of the Pedal Dulciana 16 and Great Violina 4',Trumpet S', and Melodia 8', is connected to the output header 58,through a phase shift modulator 55. The header 52, receiving the outputof the Pedal Bourdon 16', Great Clarion 4', and Bourdon 16', and SwellFlute 4', Oboe 8', Salicional 8', and Violin Diapason 8', is connectedto the output header 58 through the phase shift modulator 56. The header53, which receives the output of two Great Celeste stops and one SwellCeleste stop, is connected to the output header 58 through the phaseshift modulator 57.

The phase shift modulators 54, 55 and 56 are adjusted to produce changein frequency which are slightly different, so that they will ensemblewith each other and with the output of header 49. The phase shiftmodulator 57, being a celeste modulator is, of course, adjusted toproduce a greater change in frequency productive of a celeste effect.

Inasmuch as phase shift devices of this type produce very pleasingeffects when their outputs are combined with unmodulated outputs fromthe same headers, it is within the scope of the invention to providedirect connections between headers 50, 5'1 and 52 and the output header58. These direct connections are diagrammatically illustrated at 60, 61and 62; and they may be provided with adjustable attenuating means inthe nature of variable resistances as shown.

Modifications may be made in the invention without departing from thespirit of it. The invention having been described in certain exemplaryembodiments, what is claimed as new and desired to be secured by LettersPatent is:

1. ln an electrical musical instrument, a plurality of ranks ofgenerators slightly detuned as respects each other, a plurality ofplaying key operated switches, a plurality of tone color circuits,connections through said playing key operated switches between saidranks of generators and various ones of said tone color circuits,whereby ensemble effects are produced when oscillations derived fromdifferent ranks of generators are simultaneously transmitted to anoutput system, and means operatively associated with one of said ranksfor selectively further detuning said one rank by an amount suicient toproduce a celeste effect when its oscillations are simultaneously sentto said output system with the oscillations of another of said ranks ofgenerators.

2. The structure claimed in claim l in which said tone color circuitsinclude means operatively associated therewith for producing a pluralityof main full-organ voices of relatively greater ampltude and a pluralityof solo and supplementary voices of relatively lesser amplitude and inwhich the number of said ranks of generators is equal to the number ofsaid main full-organ voices.

3. The structure claimed in claim 2 wherein the tone color circuitsproducing said main full-organ voices are provided with stop tabs havingswitching means, and wherein the stop tab for a main full-organ Voice,the tone color circuit of which is connected with said detunable rank ofgenerators, is provided with means for rendering the said additionaldetuning inoperative.

4. The structure claimed in claim 2 wherein the said tone color circuitsare provided with stop tabs having switches, wherein one at least of thesaid supplementary voices is a celeste voice having means in connectionwith its stop tab switches to further detune said detunahle rank ofgenerators, there being a main full-organ voice also connected with saiddetunable rank of generators, and means in connection with the stop tabof said fullorgan voice to `render said further detuning ineffective.

5. The structure claimed in claim 2 wherein said tone color circuits areprovided with stop tabs having switches, one at least of saidsupplementary voices being a celeste voice and having means inconnection with its stop tab switches to further detune said detunablerank of generator-s and to shift to another rank of generators afullorgan voice normally employing said detunable rank of generators.

6. In an electrical musical instrument of the organ type having aplurality of voices, in which an ensemble effect may be secured in thesounding of the usual combinations of voices of said instrument with aminimum number of means for causing oscillations of the same nominalfrequency to bear a detuned relationship to each other:

(a) at least one rank of generator-s producing electrical oscillations,

(b) at least one keyboard having means operatively associated with saidgenerators for deriving said oscillations in accordance with therequirements of a musical composition,

(c) distributing means operatively associated with said deriving meansfor transferring the oscillations so derived to tone color circuits,

(d) selectively operable tone color circuits for modifying the harmoniccontent of oscillations passing through them, said tone color circuitsrespectively producing timbres of (l) a relatively smaller plurality ofmain, fullorgan voices classiable as diapason and chorus reed voices,and

(2) a relatively larger plurality of supplementary voices, Classifiableas solo reed, string and ilute voices,

(e) collecting means for the modified oscillations connected to saidtone color circuits,

(f) an output system connected to said collecting means,

(g) said electrical musical instrument having means associated with saidtone color circuits for rendering oscillations of the same nominalfrequency slightly detuned as respects each other,

(l) the oscillations so related being respectively associated with tonecolor circuits for a diapason voice and a chorus reed voice, wherebythese voices will ensemble with each other, and

(2) the oscillations so related being respectively associated with tonecolor circuits `for a string voice and a flute Voice, whereby said lastmentioned voices will ensemble with each other, and whereby at least oneof said last mentioned voices will ensemble with a solo reed voice.

7. The structure claimed in claim 6 in which the means associated withsaid tone color circuits for rendering oscillations of the same nominalfrequency slightly detuned as respects each other comprises at least asecond rank of generators slightly detuned with respect to another rankof generators in the instrument, and in which the said distributingmeans selectively distributes the oscillations from said generator ranksto different ones of said tone color circuits.

8. The structure claimed in claim 6 wherein the means associated withsaid tone color circuits for rendering oscillations of the same nominalfrequency slightly detuned as respects each other, comprises electricalfrequency modifying means having connection with the collecting meanswhich in turn are connected to said tone color circuits.

9. The structure claimed in claim 8 wherein the number of ranks ofgenerators is the same as the number of main full-organ voices wherebyall of said main fullorgan voices are capable of ensembling with eachother.

10. The structure claimed in claim 7 including oscillation correlatingmeans to which generators from at least two separate ranks of generatorsare connected in a cyclicly permuted fashion, such that oscillationsderived from said oscillation correlating means will ensemble with eachother at least in octavely related relationship, said oscillationcorrelating means having connection with said oscillation derivingmeans.

11. The structure claimed in claim 7 wherein one of said ranks ofgenerators is sufficiently detuned with respect to another of said ranksof generators to provide a celeste eect.

12. The structure claimed in claim 7 wherein said tone color circuitshave stop switches, wherein one at least of said tone color circuits isin connection with two of said ranks of generators, wherein electricalmeans is provided for further detuning one of said ranks of generatorsto provide a celeste effect and wherein said means for further detuningone of said ranks of generators is operated by a stop switch for saidlast mentioned tone color circuit.

13. The structure claimed in claim 8 wherein the nurnber of saidelectrical frequency modifying means is the same (less one) as thenumber of main full-organ voices in the instrument.

14. ln an electrical musical instrument of the organ type having aplurality of voices, in which an ensemble effect may be secured in thesounding of the usual cornbinations of voices of said instrument with aminimum number of ranks of generators of electrical oscillations;

(a) a plurality of ranks of generators producing electricaloscillations,

(i1) at least one keyboard having means operatively associated with saidgenerators for deriving said oscillations in accordance with therequirements of a musical composition,

(c) distributing means operatively associated with said deriving meansfor transferring the oscillations so derived to tone color circuitsselectively,

(d) selectively operable tone color circuits for modifying the harmoniccontent of oscillations passing through them, said tone color circuitsrespectively producing timbres of (1) a relatively small plurality ofmain, fullorgan voices Classifiable as diapason and chorus reed voices,and

(2) a relatively larger plurality of supplementary voices, Classifiableas solo reed, string and flute voices,

(e) collecting means for the modified oscillations connected to saidtone color circuits, and

(f) an output system connected to said collecting means,

(g) said ranks of generators being connectible to said tone colorcircuits for said main full-organ voices so that a plurality thereof(including at leastv one diapason Voice and at least one chorus reedvoice) will ensemble with each other, and being connected also with saidtone color circuits for said supplementary voices selectively so that aplurality of said last mentioned voices (including at least two stringvoices of different footage, and at least two flute voices of differentfootage) will ensemble with each other, and so that certain at least ofsaid last mentioned voices will ensemble with a solo reed voice.

15. In an electrical musical instrument in which ensemble effects may besecured:

(a) at least two ranks of generators producing electrical oscillations,said ranks being slightly detuned as respects each other,

(b) at least two oscillation correlating means, each such means havingconnection with generators of a plurality of ranks, said connectionsbeing cyclicly permuted so that at least octavely related oscillations-will ensemble with each other in each oscillation correlating means;

(c) the connections between said generators and said oscillationcorrelating means being of opposite order so that oscillations of thesame nominal frequency in each oscillation correlating means lwillensemble with each other,

(d) a plurality of keyboards having means operatively associated withsaid oscillation correlating means for deriving said oscillations inaccordance with the requirements of a musical composition,

(e) distributing means operatively associated with said deriving meansfor transferring the oscillations so derived to tone color circuits,

(f) selectively operable tone color circuits for modifying the harmoniccontent of oscillations passing through them,

(g) collecting means for the modified oscillations connected to saidtone color circuits, and

(l2) an output system connected to said collecting means.

16. The structure claimed in claim l2 wherein a main organ voice tonecolor circuit is connected to said detunable rank of generators and hasa stop tab with switch means, one of said last mentioned switch meansacting to inactivate the further detuning of said detunable rank ofgenerators.

17. The structure claimed in claim 12 wherein one of said full-organvoices is normally connected to said detunable generator, and whereinthe said celeste stop acts to shift said main organ voice to anotherrank of generators.

18. The structure claimed in claim 12 wherein one of said full-organvoices is normally connected to said detunable generator, and whereinthe said celeste stop acts to shift said main organ voice to anotherrank of generators, by energizing a relay having contacts for effectingsaid switching.

19. The structure claimed in claim 18 wherein a plurality of saidceleste tone color circuits is provided having stop tabs with switchesand wherein a switch of each such stop tab is connected to operate saidrelay.

References Cited in the file of this patent UNITED STATES PATENTS2,159,505 Hammond May 23, 1939 2,458,178 Langer Jan. 4, 1949 2,500,820Hanert Mar. 14, 1950 2,505,182 Haller et al. Apr. 25, 1950 2,557,133Mork June 19, 1951 2,583,566 Hanert lan. 29, 1952 2,585,357 Wayne Feb.12, 1952 2,681,585 Hanert lune 22, 1954

